Baroque Venetian master - 17th century figure painting - Venice Bull Hunting

c.1650

European painter (dated 1899) - Mouse hunting. 51 x 76.5 cm without frame, 68 x 93.5 cm with frame. Antique oil painting on canvas, in gilded wooden frame. - Work signed and dated...

Italian painter (19th century) - Sheep in the stable. 26.5 x 47.5 cm without frame, 52 x 73 with frame. Antique oil painting on canvas, in a contemporary carved and gilded wooden f...

Highland Painter (late 19th century) - Cattle at the lake. 51 x 76.5 cm. Antique oil painting on canvas, without frame. - Work signed lower left. Condition report: Original canva...

Italian painter (19th century) - Sheep in the stable. 26.5 x 47.5 cm without frame, 52 x 73 with frame. Antique oil painting on canvas, in a contemporary carved and gilded wooden f...

Frank Walters (British, 19th-20th century) - Highland cattle at the lake. 51 x 76 cm without frame, 57 x 82 cm with frame. Antique oil painting on canvas, in a gilded wooden frame....

Dutch painter (19th century) - Still life of fish. 63 x 76 cm. Antique oil painting on canvas, without frame. Condition report: Original canvas. Good condition of the pictorial su...

Roaring Deer Stag Deiker Carl Friedrich Wetzlar, Germany 1836 – 1892 Dusseldorf, Germany German Painter Signature: Signed bottom right Medium: Oil on canvas Dimensions: Image size 58 x 81 cm, frame size 73 x 96 cm Biography: Deiker Carl Friedrich was born on April 3, 1836 in Wetzlar. He was a Prussian animal painter. Deiker was specialised in animal genres related to hunting and wildlife. He also illustrated magazines and books on hunting. Carl Friedrich Deiker was the son of Friedrich Deiker, a painter and drawing teacher at the high school. His older brother, Johannes Deiker, with whom he learned to draw after their father’s death in 1843, was a painter specialising in hunting scenes. Deiker attended the Hanau drawing Academy, where he was a pupil of the director Theodor Pélissier (1794-1863), and then studied at Johann Wilhelm Schirmer’s studio in Carlsruhe. In 1859, in the Reinhardswald forest, he collected studies for his large hunting paintings...

17th Century Old Master, Figurative and Landscape Painting by Jan Van der Bent So far, little is known about the life and work of Jan van der Bent. He was...

Famous for his paintings of animals, landscapes and still lifes, Giacomo (sometimes spelled Jacopo) Nani was an Italian painter of the Baroque period. Presumably born in Naples, Nani studied under Gasparo López and Andrea Belvedere whose style Nani often imitated. Nani became famous while working in the court of Charles of Bourbon, future Charles III of Spain (1716 – 1788). His work is featured in the collections of museums worldwide, especially his hometown museum in Naples. An excellent example of his work, this painting is signed in the lower left corner "Giacomo Nani." This painting depicts a hunting dog...

Hunting played an essential role in the lives of princes and nobles for centuries. It was no different in the 17th century. Paintings depicting hunting scenes were hung, for example, in the hunting lodges of elites. It should be noted that the upper bourgeoisie also began to show interest in painted hunting scenes during the 17th century. In the Southern Netherlands there were a number of skilled animal painters who produced hunting scenes, including Frans Snijders, Paul De Vos, Jan Roos, Pieter Boel and Jan Fyt. Snijders knew how to render the anatomy of the animals masterfully. Also, he managed to make his animals look intelligent. He let them express a variety of feelings. His colleague, Paul De Vos, seems to have been less familiar with animal anatomy. His animals lack a kind of individuality and psychological expression. The panel shows a boar hunt with dogs. It was a prevalent theme, portrayed by Rubens, Snijders, De Vos and others. Buyers were especially interested in the showdown between animal species. The mental and physical strength appealed to their imagination. The painter of this little work has no solid knowledge of dog breeds. Due to a lack of insight into dogs' bone and muscle structure, he makes them look rather stiff. Mainly the heads have something naïve about them. It cannot be ruled out that the artist of this painting is Jan van Kessel...

Flemish school, 17th century Orpheus and the animals Oil on canvas, 146,5 x 217 cm Provenance: South German private collection. On an impressive, room-filling format, this painting depicts "Orpheus and the Animals." The harp-playing Orpheus sits centrally in front of a tree whose trunk bifurcates above his head. This central tree frames with its crown the scenery towards the horizon and at the same time offers through branches the possibility for many birds to find space. The left half of the picture is characterized by a seascape, at the edge of which the ruins of a castle can be seen deep in the background. This seascape, framed by mountains on the horizon, is the only area where sky can be seen. On this side, waterfowl such as storks, swans and ducks can be seen. In the right half, the viewer looks into a deep European forest. On this right side, more land animals can be found, such as deer, rabbits and lions, among others. Orpheus wears opulent red and gold trimmed clothing, under his blue breastplate we see a white shirt. His feet are adorned by elaborate sandals. His head is surrounded by a radiant laurel wreath ("poeta laureatus"). The young man is clearly identifiable as the singer and poet of Greek mythology, Orpheus, by his harp, the laurel wreath and the animals surrounding him. Orpheus was one of the Argonauts who, under Jason, was searching for the Golden Fleece. He sang so beautifully that he even conquered the angry sea and enemies by the magic of his lyre. During the journey, Orpheus is said to have drowned out even the sirens with his singing. It is said that he was the greatest of all poets and charmed people, animals, stones and trees with his singing. In total, 51 birds and 37 different species are depicted in the painting. The animals are mostly depicted in great detail and, except for a few, can be identified. Mainly European species of animals are shown. Exceptions are the ostrich-like nandu peeking out from behind the deer, as well as the large parrot on the upper left, and the two lions. Similar is the case for the large animal directly behind Orpheus on the right. The shape of the head suggests an arctic fox from the polar regions, even though the body is much too large. The arctic fox was first described in 1555 by Olaus Magnus. However, it could also be a depiction of a brown or black bear. An unusual detail is the animal, which is relatively isolated in the right background and looks to the left. It is not clearly identifiable, but it shows certain similarities with the Australian kangaroo. This was first described by Vespucci in 1500 and further by Francisco Pelsaert in 1629. If it is indeed a kangaroo, this would be one of the earliest surviving pictorial representations. In this painting, Orpheus is accompanied by a small monkey playing a viola da gamba. This is an iconographic peculiarity. In general, this painting has some peculiarities compared to other paintings with "Orpheus and the animals". The central positioning of Orpheus is quite common, but he usually holds a lyre and is dressed in an antique style, but not as opulently. The choice of animals is also remarkable: European animals in particular are seen, hardly any exotic features, such as camels or elephants. The two lions in the right foreground are a quotation from Peter Paul Rubens and his depiction of "Daniel in the Lion's Den", which was realized in an engraving. The present painting can be classified as belonging to the Flemish School of the 17th century on the basis of its painterly and compositional conception. From the circle of Jan Brueghel the Younger are numerous representations of this Orpheus - theme, which take it as an opportunity to show as many exotic animals. There are also echoes of Spanish painters such as Juan de Arellano...

Artist/ School: Italian School, early 18th century The painting is almost certainly from the circle of the Italian Baroque painter known as 'Rosa da Napoli', Jacob Roos (Rome 1682-Na...